To say 'I love you' one must first be able to say the 'I.'
Ayn RandRead
That which is not worth contemplating in life, is not worth recreating in art.
Interpretation
Art should reflect what is significant and meaningful in life.
This quote by Ayn Rand emphasizes the idea that art must be a reflection of profound truths and significant experiences in life. If a concept or experience is not worthy of deep thought or contemplation, then it does not have enough value to be represented in any artistic form, suggesting that genuine art emerges from the essence of meaningful human experiences.
In practice
In a lecture about the importance of art in society, this quote can highlight the relationship between life experiences and artistic expression.
To say 'I love you' one must first be able to say the 'I.'
The difference between animals and humans is that animals change themselves for the environment, but humans change the environment for themselves.
It is my eyes which see, and the sight of my eyes grants beauty to the earth. It is my ears which hear, and the hearing of my ears gives its song to the world. It is my mind which thinks, and the judgement of my mind is the only searchlight that can find the truth. It is my will which chooses, and the choice of my will is the only edict I must respect.
What is the basic, the essential, the crucial principle that differentiates freedom from slavery? It is the principle of voluntary action versus physical coercion or compulsion.
One method of destroying a concept is by diluting its meaning. Observe that by ascribing rights to the unborn, i.e., the nonliving, the anti-abortionists obliterate the rights of the living.
I think that when in doubt about the truth of an issue, it's safer and in better taste to select the least numerous of the adversaries.
Because of how much movies cost, it's dangerous to be experimental on one film after the other. But we can experiment with television. We can do things that are fringe and bring ideas to the table that are offbeat and original.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk.
As an artist, you dream about accumulating enough successful music to someday do just one greatest-hits album, but to reach the point where you're releasing your second collection of hits is beyond belief.
I hope people will say, 'Mr. Valentino, he did something for fashion, no?'
Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.
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